Please join us for an Artists/Curators talk at the Mills Gallery in Boston MA this Sunday 5PM - 7PM as part of the exhibit "info@blah: overload and organization".
Flyer at: http://www.ikatun.com/info@blah/artiststalk.pdf
Many artists are travelling from across the country in order to be present at this event presented as part of the Boston CyberArts Festival (www.bostoncyberarts.org).
"info@blah: organization and overload" is an exhibit of regional and international artists working in media from drawing to net.art that explores systems-making as a response to information overload.
::::: In conjunction with the Boston CyberArts Festival :::::
::::: March 20 through July 6, 2003 :::::
::::: Mills Gallery, Boston Center for the Arts :::::
::::: 539 Tremont Street, Boston, MA :::::
::::: Curated by iKatun, a Boston-based nonprofit collaborative :::::
::::: presented as part of the Visiting Curators Program :::::
We hope to see you there!
Please consider yourselves most cordially invited to the Copley Society's exhibit: "Manifest 2003: A Juried Exhibition of Visual Art in Digital Media".
The opening reception is in Boston this Thursday, April 10th from 5:30 - 7:30PM. Details are in the message below.
Kanarinka's Color Stories :: y e l l o w will be exhibited in this show. Wear yellow to show your support of yellow!
Also: save the date => Patriot's Day Saturday, April 19th, 6PM - 10PM -- iKatun presents an installation at the Homeland Security show at Adam's House Galleries, Harvard University, Cambridge, MA. We will spam you again to remind you.
Best wishes to all,
From: Karen Pfefferle [mailto:email@example.com]
Sent: Saturday, April 05, 2003 3:51 PM
Subject: CoSo biennial, Manifest opens April 10th
CoSo makes history with Manifest 2003: A Juried Exhibition of Visual Art in Digital Media held
Please consider yourself most cordially invited to the following event presented by iKatun and The Berwick Research Institute:
What: Circuit Bending 101 - hacking electronics to make art
When: (THIS) Sunday, April 6, 2003, 3-5pm
Where: Mills Gallery, Boston Center for the Arts, Boston, MA
$$$: $5 donation appreciated
Details: David Webber and Andrew Anselmo from the Berwick Research Institute will discuss ways that artists have incorporated hacked electronics into their artwork. They will then lead the group in a hands-on dissection and reconfiguration of some musical keyboards. Learn the ins and outs of electronics, how to make a Furby do what you want, how NOT to electrocute yourself while hacking and more.
This eProjects workshop is presented in conjunction with the exhibit "info@blah: overload and organization" that runs from March 20, 2003 to July 6th 2003 at the Mills Gallery at the Boston Center for the Arts and online at:
More on iKatun: http://www.ikatun.com
More on the Berwick Research Institute: http://www.berwickinstitute.org/
Feel free to print and distribute the event flyer located at: http://www.ikatun.com/info@blah/circuitbending_flyer.pdf
Happy Birthday to All,
We would like to invite you to the opening reception for "info@blah: overload
and organization", an exhibit curated by Pirun and Kanarinka of iKatun and presented in conjunction with the Boston CyberArts Festival.
"info@blah: organization and overload" is an exhibit of regional and
international artists working in media from drawing to video to installation
to net.art that explores systems-making as a response to information overload.
The opening reception will be held at the Mills Gallery at the Boston Center
for the Arts from 6PM - 8PM on Thursday March 20th.
Our online exhibit and net.art gallery can be found here:
We are proud to present cutting-edge work by the following artists:
Angie Waller, CA, Book
Anna Shapiro, MA, Installation
Anouk De Clerq, Belgium, Video Installation
Baron Von Berg, CT, Computer Installation
Clover Archer, NY, Drawing
Guy Marsden, ME, Electronic Sculpture
Joseph Smolinski, CT, Solar-powered Installation
Natalie Loveless, MA, Installation
lia, Austria, net.art
Nicolas Clauss, France, net.art
Remo Campopiano, Guy Marsden & Jon Schull, New England, Interactive Sculpture Nicolas Knight, NY, Drawing/Painting Rachel Egenhofer, CA, Installation/WebCam
Stanza, England, net.art
Tohru Kanayama, CA, Digital Print
Marek Walczak & Martin Wattenberg, NY & MA, net.art
Victor Liu, NY, software/net.art
dextro, Austria, net.art
We hope to see you there - Best wishes from two frazzled curators,
kanarinka & pirun
Wouldn't it make more sense for the people who want to see
the work, to pay for the work that they want to see?
Then I suggest a paypal authentication system for each one of your
net.art works that you want to charge people to see. I do not personally
want to charge anyone to see my work. Nobody looks at net.art anyways.
I have to
say that rhizome has a lot of discussion but very little communication.
I agree. But I really like the digest and Net Art News. There are also
occasionally truly interesting threads and opportunities.
could have been arranged through an independent organization of artists.
Yeah, but it wasn't.
The rhizome discussion list is a small portion of the net.art community,
a large sum of that membership sharing the membership of other lists,
like thingist or syndicate, anyway.
Agreed, but, like all lists, those lists are meaningless and boring in
their own special ways.
Maybe we should also move to China if we don't like this country.
It's much more expensive to move to China than to stop going to
Anyways, I guess I'm having a hard time understanding all this uproar.
People who are professionals often pay to be members of professional
associations where they can network, go to events, have discussions,
show their work etc. People who are in the arts often support (via money
or attending their events) the organizations that provide them with
services. For example, our organization iKatun has whatever money we can
fundraise ($600 last year) and any personal money we all put into it.
But we gave $50 to the Volunteer Lawyers for the Arts association. We
gave $25 to rhizome. Often when I go to a non-profit gallery for an
event they ask for donations at the door and I give what they request.
Running an organization, even if it is non-profit, takes money! I admire
people who run things because I think it is way more interesting and fun
to make art than to run a real non-profit organization.
It seems to me to be exceedingly selfish to wah-wah about donating $5 or
to conspiracy-theorize about how rhizome is really making some huge
profit on all our stuff in their art base. (yah, right)
Hope you don't leave even though I disagree with you.
From: Eryk Salvaggio [mailto:firstname.lastname@example.org]
Sent: Wednesday, January 15, 2003 12:58 PM
To: Kanarinka; email@example.com
Subject: Re: RHIZOME_RAW: RE: <nettime> Re: One Day Left
>Give me a break.
>Rhizome is a platform for viewing, discussing and
>communicating about net.art, not a profit-making machine.
Let me ask you then: who is viewing it? Following this, who is making
what these people are viewing? Isn't there a difference? Does it make
sense that people should have to pay to show their work to people? Maybe
street musicians should hand us dollar bills for being attentive
listeners? Wouldn't it make more sense for the people who want to see
the work, to pay for the work that they want to see?
Secondly, discussion is based on communication. One can communicate
something, and then other people can discuss it. I can communicate my
ideas anywhere. Rhizome certainly offers a forum for discussion, but
what is the line between a communication and a discussion, and are they
of the same value? What if there was nothing to talk about? I have to
say that rhizome has a lot of discussion but very little communication.
>I am happy to
>support such a service both through financial and other forms of
>participation. I consider rhizome to be an invaluable **service**
>provided to the net.art community.
Can you define this service? And how it is invaluable? I am curious to
know what rhizome offers that you can't find elsewhere. The artbase
could have been arranged through an independent organization of artists.
The mailing list is nothing, there are plenty of these (and I expect
more to come up when rhizome dissolves.) I see rhizome as having filled
a very particular niche, and as having abandoned that purpose. Now it is
an institution, like a museum, and this is unfortunate for people who
believed in something different. It used to be ironic that this place
was called rhizome, now it's insulting. It is a tree, pure and simple,
with people at the top making decisions for people at the bottom, with
very little sideways decision making. [They even now have a class
system- user, superuser, admin.]
>Indeed rhizome is a key reason why
>there is any kind of community at all.
I disagree. The majority of net.artists are not on rhizome, or don't
contribute- you will get a weird line about how all the people
subscribed to digest are "part of the community" because they get an
email once a week. (This was the reasoning behind having three heads of
museums selecting the rhizome grants. I have no problem with museum
heads, but I also felt like an actual rhizome user should have helped
make that decision- since all of our input is so valuable.) The rhizome
discussion list is a small portion of the net.art community, a large sum
of that membership sharing the membership of other lists, like thingist
or syndicate, anyway.
>I doubt they are going to be making a profit off your measly $5
>contribution, but if you feel that strongly about it I have nothing
>against rhizome taking your work out of the art base, removing you from
>their list, and never mentioning your work ever again on the site.
Ha. "Welcome to the new Rhizome" indeed. Maybe we should also move to
China if we don't like this country. It would be interesting if rhizome
removed everyone from the artbase who didn't pay them. Essentially this
would mean that rhizome was a vanity press! For a certain amount of
money down, rhizome will host any webpage. Also, I wonder if you would
really be happy with only discussing the work of people who pay five
dollars to rhizome?
Write back if you want to: Maybe I'll be here, maybe I won't.
“Erase the Border” is a project that will take place on the Tohono O’odham Indian Reservation in southern Arizona.
The Institute for Infinitely Small Things is currently seeking funding to complete the project in Spring 2012 (see detailed request below).
The project would be to physically “erase” the U.S.-Mexico border fence on the Tohono O’odham Nation in southern Arizona. The fence divides the Tohono O’odham community, disrupts ceremonial paths, desecrates sacred burial grounds and prevents members from receiving critical health services.
Ofelia Rivas and youth from the Tohono O’odham Nation will work with the Institute for Infinitely Small Things to create a series of drawings from performances on the U.S.-Mexican border in southern Arizona.
What we will do
We will walk the border fence in a ceremonial way.
We will drag and press large 30″ x 40″ sheets of fine art paper along the fence as we go.
The walking and pressure will create drawings that pick up physical matter – dirt, debris, bugs, rust – and remove it from the border fence.
A small part of the border fence will be removed forever.
The created drawings are abstract landscapes.
About the Tohono O’odham
The Tohono O’odham are an indigenous tribe that live on the second largest indian reservation in the U.S. Their lands straddle 75 miles of the U.S.-Mexico border in southern AZ. The O’odham lived on the land long before the US or Mexico or the Gadsden Purchase or Homeland Security.
The vehicle border fence, erected in 2008 by Homeland Security, stretches for 75 miles across the O’odham lands in the deserts of Arizona.
Please watch the below video for a full background on the Tohono O’odham’s situation on the border.
Originally slated to be performed in Fall 2011, this project continues to seek funding to be completed in Spring 2012. See below for more info.
Any contribution is welcome; our total need is $2,400, which would cover the following:
- Travel for 2 members of Institute for Infinitely Small Things from Boston to AZ
- Fine art paper
- Transportation for Ofelia Rives, O’odham youth and Institute members (distances on the reservation are great and gas is expensive)
- Honorarium for youth participants
- One day of meals for everyone involved
- Still photography, video documentation and post-production
The Border Crossed Us is a temporary public art installation by the Institute for Infinitely Small Things that transplants the US-Mexico border fence in southern Arizona to the UMass Amherst campus.
What happens when we divide a territory that the community imagines as contiguous? How does the international border in Arizona, seemingly remote from a college campus in northern New England, touch all of our lives?
From April 20 to May 1st, the UMass Amherst campus was divided along its North-South boundary by a to-scale photographic replica of the vehicle fence that runs along the international boundary in southern Arizona. The particular stretch of fence being represented was erected in 2007 by Homeland Security and now divides the Tohono O’odham Nation – the second largest Native American reservation in the country – into two parts.
The fence will ran between a parking garage and the campus center. Over the course of two weeks it served as a provocation, a touchstone for conversation, and a site for talks and performances. Along with the fence’s insertion into daily life on campus, the project invited a delegation of Tohono O’odham, including a tribal elder and several youth to speak about their experience. In addition, the Native American Studies Certificate Program in the Anthropology Department held a panel discussion on Borders & Indigenous Sovereignty as part of the campus’ annual Native American Powwow. Border issues affect several other tribes, including the Mohawk and Abenaki. The delegation of O’odham spoke along with others about these issues during the conference and participate in the powwow.
This project was commissioned by the University Museum of Contemporary Art at UMass Amherst.
The following time-lapse video of the installation was produced using a motion-detecting camera designed for hunting purposes. Sounds are from the accompanying sound installation, which was installed inside the large, circular parking garage vent in the foreground:
The Border Crossed Us Book
This 42-page, full-color book uses maps, essays, photographs, and a variety of other rich graphics to communicate the background and results of The Border Crossed Us.
More info, images and dialogue on the project website:
On Sunday, October 1 2011 the Institute joined with Occupy Boston in the 6th HONK! Parade to carry signs with two messages: “NO ONE HAS YET DETERMINED WHAT THE BODY CAN DO” and “#OCCUPYBOSTON”.
At 7AM Thursday, October 6 2011 the Institute strung banners over a Boston highway with the same messages. This was done as part of the multi-city Afghanistan War Tenth Anniversary Banners project.
Transgender Bathroom Dedication dedicates the men’s room at the MFA Boston to Dean Spade who was arrested in 2002 for using the men’s room in Grand Central Station and dedicates the women’s room at the MFA Boston to Chrissy Pollis who was the victim of a transgender hate crime in a Maryland bathroom in May 2011.
These two new works are gifts to the MFA Boston on behalf of the Institute for Infinitely Small Things. They were emplaced as part of “Boston’s Best 40-ennial”, a 19-minute historical and totally unauthorized exhibition in the bathroom of the MFA Boston organized by Greg Cook on June 20th, 2011.
More information about the exhibition:
Is there, actually, a recipe for failure? Are certain methodologies more prone to failure than others? How? What is at stake in acknowledging failure in one’s process, one’s community, or one’s career?
In April 2011, The Institute for Infinitely Small Things sent out an open invitation to discuss failed processes and failed projects. Consisting of 5-7 minute presentations by the Institute and invited participants, the event addressed the ways in which failures can and cannot be currently discussed in the world–and how we may be able to imagine to new ways to perceive, view and characterize what “failure” is.
This was the second part in a series started by Platform2.
The World’s Largest Potluck Ever would stage a mile-long potluck dinner on the Cambridge Street Corridor in Cambridge, MA, in an attempt to break the Guinness record, showcase the diversity of the businesses and residents, build community, publish a recipe book and display a dazzling array of home-cooked meals. For one Sunday afternoon, the whole street would be transformed into a giant neighborhood block party with food, performers and fun.
The World’s Largest Potluck Ever was inspired by Cambridge Street’s history as a commercial corridor of independently-run businesses and as a meeting place for people from diverse regions. Cambridge Street has seen significant waves of immigrants from Ireland, Poland, Italy, Portugal and Brazil. While the street has numerous festivals and special events (such as the 84-year-old annual Feast of Saints Cosmas and Damian or the Inman Square summer movie nights) there is no special event that celebrates the corridor specifically.
The World’s Largest Potluck Ever was part of a competition for the Cambridge Street Public Art Commission in Cambridge, MA, in 2010. It was on display in the city’s art gallery in Spring 2010 and three local residents were commissioned to create homemade dishes for gallery visitors to taste. Unfortunately the project was not selected for the commission but this idea is still worth doing! (Who does not want to attend the world’s largest potluck ever??) Contact me if you are interested in reviewing the full proposal.
An article for the International Encyclopedia of Human Geography, published by Elsevier Press. Download article.
Art has taken a distinct “cartographic turn” in the last century. This period represents a veritable explosion of artwork that takes on cartography in order to critique, subvert, and reimagine territory. Artists have made maps, subverted maps, performed itineraries, imagined territories, contested borders, charted the invisible, and hacked physical, virtual, and hybrid spaces. There are three loose groupings of important mapping impulses that have characterized the artistic appropriation of cartographic strategies, both literally and metaphorically, from the early twentieth century to present times: 1) Symbol Saboteurs: artists who use the visual iconography of the map to reference personal, fictional, utopian, or metaphorical places; 2) Agents and Actors: artists who make maps or engage in situated, locational activities in order to challenge the status quo or change the world; and 3) Invisible Data-Mappers: artists who use cartographic metaphors to visualize informational territories such as the stock market, the Internet, or the human genome. This article outlines and contextualizes these three impulses with numerous examples.
kanarinka ran the entire evacuation route system in Boston and attempted to measure the distance in human breath. The project also involves a podcast and a sculptural installation of the archive of tens of thousands of breaths .
The project is an attempt to measure our post-9/11 collective fear in the individual breaths that it takes to traverse these new geographies of insecurity.
The $827,500 Boston emergency evacuation system was installed in 2006 to demonstrate the city’s preparedness for evacuating people in snowstorms, hurricanes, infrastructure failures, fires and/or terrorist attacks.
It takes 154,000 breaths to evacuate Boston consists of:
- a series of running performances in public space (2007)
- a web podcast of breaths (2007)
- a sculptural installation of the archive of breaths (2008)
Medium: custom-made table, 26 jars, 26 speaker components, wire, 13 CD players
I created a sculptural & audio archive of the collection of breaths. There are 26 jars on a custom-made table which correspond to the 26 runs it took to cover the evacuation routes. Each jar size corresponds to the number of breaths from that run. The speaker inside the jar plays the breaths collected from that run. (Better documentation coming soon)
This piece is on view in Experimental Geography, a traveling show curated by Nato Thompson and produced by ICI.